Toque Flamenco

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Toque Flamenco: The Flamenco GuitarBy “Flamenco Chuck” Keyser

Academy of Flamenco GuitarP.O. Box 1292

Santa Barbara, CA 93102

[email protected]

http://members.aol.com/BuleriaChk/private/flamenco.html

© Charles H. Keyser 1998

(painting by Rowan Hughes)

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Introduction To Flamenco Contents

Introduction

Basic Rhythm

Basic Chords

Basic Rasgueados

2/4, 4/4 Compas Family6/8, 3/4 Compas Family

Barred Chords

Play Solea Solo

Play Bulerias Solo



Introduction

Flamenco Guitar Position

The traditional flamenco guitar is balanced on the right thigh; with the neck extending

diagonally across the body upwards from right to left. (from the player’s point of view. The body

of the guitar is held in place by the pressure of the upper right arm, and the right forearm extends

downward to the guitar strings.

This is a difficult position to master, and is used most often in accompaniment of a singer

or dancer, since it lends itself to active participation in the surrounding flamenco environment. It

is difficult at first; the hand position will probably be cramped, the guitar will tend to slip, and it

is difficult to see the strings (when accompanying, flamenco guitarists rely on their guitar

experience, and play without looking; they “internalize” the basic techniques necessary).

An alternative is to with the right leg crossed over the left (or vice versa), a more

comfortable position, and one used by a great many guitarists today (including Paco de Lucia).

However, the traditional position is far better suited for driving rasgueado and basic thumb

technique. The fancy fingerwork up the neck isn’t nearly as important in flamenco as the socialparticipation, keeping solid rhythm, and feeling the music, and the traditional position is more

effective for these priorities.

Left Hand Position

The thumb of the thumb extends perpendicular to the back of the guitar neck, with the

thumb in the center. The fingers arch over and descend more or less vertically on the guitar

strings. The neck is never cradled between the thumb and index finger, and the thumb is never

used to make the bass notes of chords, as in the jazz and blues guitar styles. The fingers are

arched so that finger independence is maximized, and each note felt as it is played (eventually,

flamencos have to learn to play the guitar without looking, to keep their eyes on the dancers!



Right Hand Position

It is a good general rule to keep the knuckles of your right hand more or less parallel to

the guitar strings, so that your fingers strike the strings in the most efficient way. This rule, of

course, is broken all the time in the heat of battle (i.e., performance); hand position actually

depends critically on the particular techniques used (e.g., thumb techniques, tremolo, etc.). For

the traditional flamenco position, the wrist will probably have to be cocked, which again will be

uncomfortable at first. It is mostly a process of natural selection.

The best advice is just to learn and play as much as possible, especially for dancers and

singers, and for classes. There are really no secrets, but keeping compas and strength are the

priorities; missing a note in a falseta is not anywhere near as important as failure to keep compas;

Flamenco guitarists learn to “sing along” in their minds while recovering from mistakes.

(Dancer’s won’t complain about a note being off or fuzzy, but they will complain (or worse) if a

guitarist loses compas!)

The Use of the Capo (Cejilla)

The guitar is tuned to A = 440 cps., but Flamenco guitarists often make use of an artificial

bar (or “nut”) on the neck of the guitar, called a capo, capotasto, or cejilla. This is a wooden,plastic, or “thela” (compressed fiber) piece clamped at a given position on the neck, which stops

the string at the fret just above it. It performs the same function as the left index finger when

“barring” (bridging) at a position; it changes all the pitches of the (open) strings simultaneously

to those at the new position. Once the capo is in position, the guitar is played just as without it;

the only difference is the “starting” pitches of all the relationships on the neck. The capo, then,

functions as the new “nut” of the guitar.

The capo was used originally to facilitate the accompaniment of singers; it is an

automatic adjustment for pitch. In addition, some Flamencos think that the capoed guitar sounds

“more Flamenco”, since the higher tensions of the strings produce a more brilliant sound.

The capo, limits the range of the left hand, since it limits the range available ( the guitar

body blocks the strings at the 12th fret. The cutaway guitar allows freer access to the upper

ranges, but these are only now coming into some use in flamenco circles. Many guitarists put the

capo at the 2nd fret when playing solo, since that position still allows free access to the 7th

position (where the E and B Phrygian modes have an important note pattern).

In the final analysis, it is pretty much up to the singer, or in solo work, the guitarist.

When taking material off of records or CD’s, the usual procedure is to listen for a resolution, or a

familiar phrase, find it on the guitar, and then set the capo so that the material parallels that on

the record.



The Flamenco Guitar in General

The traditional role of the Flamenco guitarist is as an accompanist of the two other major

aspects of the art, the cante (song), and the baile (dance). Virtuoso guitarists, from Don Ramon

Montoya, through Nino Ricardo and Sabicas, to Paco de Lucia, Victor Monge “Serranito”, and

finally the new generation have carried the art of the solo guitar to record heights (although

sometimes strange directions), but the foundation aspect of the flamenco guitar remains its

participation and the artistic relationship to performers in intimate circumstances and appropriate

ambiente as a serious art of personal expression.

The unifying rhythmic concept of the Flamenco guitar, dance and song is the compas,

(literally, “meter”) or cyclic rhythm, which refers to the recurrent cycles of accentuation and

phrasing that characterize Flamenco. It is similar to the concept of the Tal, or Tala cycle in

Indian classical music (it is generally accepted that Gypsies originally have migrated from India).

Again, it is essential to understand and to keep the compas; i.e., to stay within these cyclic

rhythms. Even in the unstructured guitar pieces (toques), the phrasing of the falsetas (melodic

sections similar to jazz riffs) will be similar to those in palo which have a defined compas.

The music of the Flamenco guitar has two components in performance; chording

compas and falsetas. Chording compas consists of expressing chord progressions with thetechniques of various types of rasgueados (right hand strumming techniques) in compas.

Falsetas are sequences of individual notes or techniques (in compas) inserted at appropriate times

between the chording compases; at the virtuoso level, guitarists use highly developed techniques

- picado, ligado, arpeggios, tremelos, alza pua and many other variations, together with complex

musical phrasing, polyrhythm, and counter-time.

The present work focuses on chording compas, the most essential element of performance

for the Flamenco guitarist. It has already been introduced to in the sections on counting compas

in the Compas Analysis and in the essentials of music theory in the Music Theory section; the

next step is the study of the basic chords, rasgueados, and chord progressions as implemented on

the guitar.



The Role of Question and Answer in Compas

The concept of “question/answer”, (or “tension/resolution”) is crucial for understanding

the way compas sequences relate to each other. For the flamenco guitar, there are several ways

of providing “question / answer” emphases; either applied individually, in combination, or

simultaneously. Among them are:

1. Harmonically - this refers to the chord progressions used to express flamenco; in

particular the Dominant -> Tonic relationship, or its equivalent in the Phrygian Mode.

2. Rhythmically - this refers to the use of contrasting measures in the compas cycle by

using different rhythm sequences via rasgueado or falsetas to provide interest. (e.g., 6/8

Questions -> 3/4 Answers)

3. Density - measures can be ”sparse” “dense”, depending on how thoroughly they are

“filled” with percussive technique (e.g., rasgueado, footwork). The form is usually from

“sparse” -> ”dense”, but not always.

Although fomal sequences of compas cycles are presented as examples, keep in mind that

when accompanying the number of measures before a resolution is often not fixed (especially por

Bulerias); so a rasgueado sequence may be continued for some time as a question before finally

resolving, depending on the performance of the other artists.

Note: it is important for the accompanying guitarist to be able to find the “tono” of a

singer quickly. Often a singer will point to the position on the guitar neck, and then tell you to

sing “por arriba” (E Phrygian) or “por medio” (A Phrygian), which refers to the “cross string”

position of the basic chords most often used keys for accompaniment (from the singer’s

perspective). For example, the E (Major, Mino, Phrygian mode) is said to be “por arriba”, while

the A (Major, Minor, Phrygian Mode) is said to be “por medio”.

Tablature Notation

Music for the guitar can be written in the traditional format, by establishing a key

signature and using spaces and lines on a 5 line staff to represent scale steps. Traditional

tablature notation indicates note position (relative to the cejilla) with numbers superimposed on

6 horizontal lines to represent the guitar strings; an alternative is to use the spaces between the

lines on a standard 5-line staff to represent the strings of the guitar; since standard music paper

can then be used to write falsetas. For this discussion, the 5-line alternative will be used. As

before, numbers then indicate the position at which the string is stopped relative to the nut or

cejilla (capo).



Basic Rhythm

The Beat

Music has fundamentally two components; a “vertical” component that refers to pitch

(i.e., the “highness” or “lowness” of notes), and a “horizontal” component that refers to rhythm

(an ordered sequence of events in time).

Taken together, these components express chord progressions or melody. The music of

the guitar is essentially percussive (individual sounds of relatively short duration); the left hand

of the guitarist is responsible for harmony and melody, and his/her right hand is responsible for

rhythm (as expressed in rasgueado or falsetas).

The basis of rhythm is the beat, which divides time into equal periods, and is representedby the quarter note (q )or the dotted quarter note (q .). The “dot” indicates a period of time half

again as long as the note it follows (in this case, a quarter note). Quantitatively the tempo, (i.e.,

the speed at which the music is performed) is defined by the number of beats per minute; for

example, indicated by (q = 120), a tempo of 120 beats per minute (bpm). Musicians often tap

their foot on the beat; and the tempo partially determines how fast a given technique can be

executed. Individual techniques often have a duration of a note group. Typical Flamenco

tempos are from 85 b.p.m. to 160 b.p.m..

Note Groups

The beat can be divided into subdivisions, which are indicated by the number of horizontal bars

or flags on the note. A quarter note can be divided into two eighth notes, indicated by the symbol

(e); e.g., e = e + e. Similarly, the beat can be divided yet again, into sixteenth notes, indicated

by two flags: (x). Thus, for example, q = e + e = x + x + x + x . The flags are often tied

together at the top of the note to indicate a note group, which is an example of a rhythmic

phrase (an interval defined by several notes).

Here are examples of a number of note groups that have the same duration as a quarternote:

The above groups are a quarter note, 2 eighth notes (a doublet), 4 sixteenth notes (a

quadruplet), 3 eighth notes (a triplet), 5 sixteenth notes (a quintuplet), and 6 thirty-second

notes (a sextuplet).



Rests

Musical silences are indicated by symbols called rests. Here is a quarter rest, an eighth

rest, a sixteenth rest, and a thirty-second rests, each of durations corresponding to their respective

note equivalent.

Each of these rests can be extended by half, indicated by appending a dot to the symbol,

as with notes . By using combinations of notes of varying duration within the beat, more complex

rhythmic variations can be expressed.

Counting

Beats can be grouped together in larger phrases; the easiest way to think of these phrases

is by the number of beats the phrase contains. Flamenco rhythms consists of two fundamental(and distinct) families of phrasing; those counted in multiples of 2 counts (the so-called binary

rhythms), and those counted in multiples of 3 counts (the trinary rhythms). For Flamenco, the

binary rhythms are most often counted in phrases of four counts, the trinary phrases are counted

in phrases of three, six, or twelve counts.

Each of the compas phrases in the above families can be counted on each beat/quarter

note (a slow compas timing), or with two counts for every beat (counting in eighth notes, a

compas timing twice as fast for a given tempo.)

For example, a phrase of four notes might be counted as:

(F = Foot tap = Beat)

1 2 3 4 (Slow compas phrasing)

F F F F

or as:

1 2 3 4 (Fast compas phrasing)

F F



Time Signatures

The length of a rhythmic phrase and its accentuation (or meter) is indicated (both

conceptually and notationally) by a time signature. A time signature is symbolized by a

fraction, the denominator of which indicates the note duration used as the basic interval of time,

and the numerator of which indicates the number of notes making up the phrase.

For example, a time signature of 3/4 indicates a phrase three quarter notes (3 x 1/4) induration. The phrases are indicated on the staff by vertical lines - each phrase thus indicated is

called a measure. These phrases (or combinations of them) are often repeated in music; a time

signature holds on the staff until changed by another.

The important accents usually (but not always) fall on the first note of the first note group

of the measure. Lesser accents usually fall on the first note of the other note groups, although

this is not the case when counter-time, syncopation, or hemiola is applied (these terms will be

explained elsewre; see also the Compas Analysis).

Mnemonics

Another aid in expressing rhythm is to vocalize them using a consistent vocal pattern for each

note group. The form of vocalization is up to each individual, but below are some suggestions:

Quarter Note/Eighth note - Tum or tum (Accented)

(abbreviated to Tm or tm if space is a factor) ; Ty or ty (unaccented)

Doublet - Tum-ty

Triplet - Rumpity (accented) or tumpity (unaccented):(abbr. Rmpity or tmpity)

Quadruplet - Rumpidity (accented) or tumpidity (unaccented)



Examples

Here are some examples of the above rhythmic concepts:

2/4, 4/4 Example

The symbol at the left of the staff is called a clef (in this case a treble clef); it indicates a

range of pitches for the staff. The number above it is the measure number, and the number below

is an octave offset indicator. Note that the time signature of 2/4 is continued for the first four

measures after which it shifts to 4/4.

In the 2/4 measures, the count is on eighth notes (every other beat) with major accents on

the beat (counts 1 and 3), while in the 4/4 measures the count is on every beat.. Note the tripletending on count 3 in the fourth measure, mnemonically expressed as “rumpity tum”. This

sequence is analagous to a drum roll, and is often expressed by ragueo (strumming) on the guitar,

a redoble (footwork sequence) or vuelta (turn) in the dance. Note also the beat can be kept

steady, but that the phrases are twice as long in the 4/4 measures as the 2/4 measures.

3/4 Example

This is an example of a 12 count compas cycle expressed as 4 measures of 3/4 meter.

(The “7" above the clef is the measure number in the piece; this is an artifact of the notation

program; ignore such numbers). If you say the rhythm to yourself, note that the first and third

measures suggest “questions” while the second and fourth measures suggest answers.

(Compare with the 2/4, 4/4 example above.)

3/4,6/8 Example

In this example, the dots at either end of the first measure indicate (arbitrary) repetition.

The “hats” indicate accentuation. Notice that the accents in the first measure are against a beat

defined in 3 quarter notes, producing a “3 vs.2" polyrhythm (or, more precisely, polymeter).

Note that the 6/8 measure and 3/4 measure are exactly the same duration. The 3/8 sequence is a

12 count compas, but to keep the counting (and beat) consistent requires a 1/8 transition measure.

This is a brief example of the complexity of Flamenco Compas that will be explored more deeply

in subsequent sections (see also (especially) the Compas Analysis for further examples.



Basic Chords

Chords are the fundamental means of expressing harmony on the guitar, and together with

rasgueado (rasgueo, strumming) form the foundation of the chording compas.

Chords consist of three or more (different) notes struck simultaneously. Different versions of the

same chord are called inversions, which are determined by which of the three notes are the

lowest in pitch (since these notes will generally have emphasis.

Many of the keys in which the toques are interpreted are determined by the ease of which the

chords are made in the open position, as well as the scales which contain the open strings of the

guitar.

Chord Notation

A five line diagram can be used to indicate the positions of the left hand fingering of

notes on the guitar neck, with the spaces between the lines serving as guitar strings. The first

string (treble E) is lies in the space immediately above the top horizontal line, with the sixth

string (bass E) in the space below the bottom line, and the other four strings between.

The notes of the chromatic scale consists of all the available notes on the guitar; they are

arranged in half step intervals, corresponding to individual frets on the guitar. (In the diagram,

they are shown them by sharps or flats according to the keys most likely to be used for Flamenco.

These correspond to the keys of A Phrygian Mode to the G# Phrygian Mode CW around the top

of the Circle of Fifths, and their related major and harmonic minor keys.

Note that the distance from the right side of the nut (where the string is stopped) to the

12th fret is one octave in pitch (divides the length of the string in half), which is where the guitar

neck meets the body on the traditional flamenco guitar. (The notes at a position refer to the

position itself, but also includes the four places to the right.)



Of these notes, the Natural Scale consists of notes without sharps or flats .(corresponding

to C Major, A (Natural) Minor, and the (“pure”) E Phrygian Mode. This scale is modified by

sharps or flats depending on the key of the palo.

The diatonic (“two tonic”, i.e., major/minor) scales serve as the basis for chord

construction. Again, notes are selected according to the chord required. For example, the E

Major chord (E, G#, B) uses the following notes on the guitar neck:

Note that the open 3rd, 4th, and 5th open strings (G, D, and A) are not included in the

notes of the chord.

Open Position Chords

The basic chords for keeping compas in Flamenco are those which can be made easily in

the open position (relative to the capo) of the guitar. Left hand fingering is indicated by numbers

(1 = index, 2 = middle, 3 = ring, 4 = little ) at a given position (which takes its number from the

fret directly to its right, which is the fret at which the string is actually stopped; for this reason,

“fret” and “position” are sometimes used interchangeably, depending on the context of the

discussion. The position for the unstopped strings is called the “open” position.

The root of the chord (its most important note) is be indicated with a circle in the

following discussion. Among the most important chords used for Flamenco are the Major,

Minor, and Dominant 7th chords, together with a few important variants. Rather than precisely

defining latter chords at this first discussion, we will simply use quotes to indicated their usage.

Optional fingerings are indicated by parentheses, and strings that are open but not played

or de-emphasized while strumming (playing on the treble or bass strings to more or less avoid

stiking them) are indicated with an “x”. (Practically, sounding these strings is often determined

by the heat of battle).



Open Position Major Chords

The Major chords in the open position are:

(The first joint of the index finger is bent to make the A chord.)

Open Position Minor Chords

The Minor chords in the open position are:



Open Position Dominant 7th Chords

The Dominant 7th chords in the open position are:

Additional (Basic) Chords for flamenco

The following additional chords are also important for Flamenco:



Basic Rasgueado (Guitar Strumming)

Basic rasgueados are indicated by vertical lines with arrows; an up arrow for a downward

stroke ("away" from the body (or head), and a down arrow means an upward stroke (towards the

head). The fingers of the right hand are indicated by p (pulgar), i (indice), m (medio), a (annular),

and c (chico) for the thumb, index, middle, ring , and little fingers, respectively.

The simplest rasgueados are down and up strokes of the index finger of the right hand

across the guitar strings (a chord is held the left), indicated by up and down arrows, respectively:The right thumb is also extensively used, (the index finger emphasizes the treble strings, while

thumb emphasizes the bass strings.)

Here are thumb down and up strokes (the upstroke is used with the triplet rasgueado):

The upstroke is sometimes referred to as “alza pua”, or “upward thorn”; although pua

could also be taken as a derivative of “pulgar” (thumb).



Quadruplet Rasgueado

The basic quadruplet rasgueado is performed (down, down, down, up):



Rasgueado Variations

There are many variations of rasgueo, single or continuous; chords can be indicated above

the staff, with horizontal or curved lines indicating phrasing; repetitions of a technique (and

sometimes rests) are indicated by a diagonal line:

If the type of rasgueado is arbitrary or understood, it can be indicated by a shorthand; e.g.,

Rasgueados can also be used in a guitar interpretation of the redoble:

Try different combinations to see which is the best for you; there are many possibilities.

The rasgueado when used as a redoble can be a powerful way to emphasize resolution phrases.



Chord Progressions and Compas

The most commonly used keys for Flamenco chording compas are given in the diagram

below. These are presented in a general form consisting of two (or more, if “marking” rhythm”)

chording compases (basic question-answer sequence) followed by a longer closing sequence. For

the 2/4, 4/4 rhythms, this sequence is associated with a cierra, a closing sequence for the series

of chords. For the 6/8, 3/4 rhythms the final chord progression is more characteristics of falsetas

within a toque (e.g. Bulerias), but is often used in other contexts as well, so is a good starting

point for this family as well.

Note that some of the keys near the top of the Circle of Fifths are not generally used with

Flamenco palos (except as related keys). There are a number of reasons; for example, the tonic

D chord (D Major, Minor) has its root on the 4th string, and therefore lacks a solid “bottom”; the

G Major chord is slightly awkward to make in the open position, so is not commonly used as a

basis for toques.

The key of B Phrygian Phrygian has been included because of its common use in Rumba

solos and as the key for Granadinas; similarly for the F# Phrygian mode (Taranto, Tarantas)

In addition, the key of D Minor and D Phrygian Mode is sometimes used for Farruca and

Zambra with the 6th string tuned to D (a step lower than E) to provide the bottom; an additional

re-tuning of the 3rd string to F# (a half step lower than G) is characteristic of the Rondena solo

guitar toque. (Note: some contemporary guitarists are experimenting with different tunings; open

G or open D tuning, so be careful if the solo has special effects not traditional to Flamenco).

There are many other chord sequences used with Flamenco, and we’ll return to this

subject after we’ve discussed the basic rasgueado techniques used for the Flamenco rhythm

families.



2/4, 4/4 Compas Family

The 2/4, 4/4 Family of Flamenco Rhythms can be divided into two main groups; those in

which the compas is primarily expressed in doublets or quadruplets (note groups of multiples of

two), and those expressed in triplets (note groups in multiples of three). This distinction is

somewhat arbitrary, however, since a performance can (and usually will) contain sequences made

up of some or all these note groups.

1. 2/4 and 4/4 Flamenco forms expressed primarily as doublets/quadruplets.

Farruca, Tangos, Rumba, Zambra (Danza Mora), Taranto, Garrotin, Columbianas

2. 2/4 Flamenco forms expressed primarily expressed as triplets.

Tientos, Tanguillo (de Cadiz), Zapateado

The basic 2/4 and 4/4 “question / answer” forms are:

This format, with “questions / answers” as V7->I for the major and minor, and

II->I for the Phrygian mode), is one chording compas (in 2/4 or 4/4. respectively).

When marking rhythm, the “question” sequence can be repeated an arbitrary (odd)

number of times before finally resolving (the full sequence is an even number of measures),depending on the context of the performance. A number of these chording compases are usually

performed in sequence, which is finally closed (“cerrado”) by a longer sequence called a

“cierre” (close), or “llamada” (call) using the sub-dominant chord sequence or its equivalent (

IV -> I -> V7 -> I, or IV -> III -> II -> I ).



2/4 , 4/4 Compas Family Rasgueado Sequences

The 2/4, 4/4 family of Flamenco palos are divided into compas expressed primarily as

doublet or quadruplet note groups, and those in triplets.

2/4, 4/4 Palos in doublets/quadruplets.

These palos include:

Farruca (Am), Tangos (A Phrygian), Tientos (A Phrygian), Zambra - Danza Mora (E

Phrygian), Taranto (F# Phrygian), Garrotin (C Major), Columbianas (A Major)

(Note: the above keys are somewhat arbitray, since (especially modern) Flamenco makes

use of all keys, and in addition modulates back and forth between keys considrably.

Flamenco Chording compas is expressed by rasgueados; here are some chording compas

sequences often used with 2/4 rhythms. Note in particular that those sequences with redobles

(rasgueados ending on count 3 in 2/4, or 4 in 4/4) are particularly important for their use in

cierres (llamadas).

These sequences can be repeated (for two sections of question and answer in 2/4, one

section of question in 4/4), and can be mixed in sequences as required. Eventually, sequenceslike this becomes second nature to Flamenco performers.



Rumba Gitana (Rumba Flamenca)

The following are some basic rasgueados for the chording compas characteristic of

Rumba Gitana:



Triplet Flamenco Toques

Tientos (A Phrygian), Zapateado (C Major), Tanguillo (A Major)

Another form of 2/4 time is anacrusic in nature; i.e., the phrasing is actually felt as

starting from “pickup” notes in the measure before the harmony change. This means that the last

part of the preceding measure is actually felt as beginning the phrase, even though the chords

actually change on the measure boundaries.

At a fast tempo, the phrasing is performed in doublets and quadruplets, characteristic of

Tangos; however, for Tanguillo and Zapateado (and occasionally Tangos as well), the emphasis

is in “triplets” (actually, sextuplets as shown).

Note that the cierre ends on count 1 of the last measure, instead of count 3 in the previous

compas phrasing.

These techniques can also be applied in 4/4 time, with the counting (and chord

progressions) half as fast compared to the techniques employed. 4/4 meter would be

characteristic of a slow Tientos or Taranto, which has both quadruplet and sextuplet phrasing,

depending on the context of the performance. With a slow phrasing, the interior musical

structures (techniques / note grouping) within the compas cycles (measures) can be

correspondingly more musically complex.



6/8, 3/4 Compas Family

Although the 2/4, 4/4 rhythms are an important part of the Flamenco repertoire, it is the

6/8, 3/4 rhythms that form the heart of the art; included in the rhythms (“palos”) are the all-

important Soleares, Bulerias, and Siguiryas. The 6/8 and 3/4 measures provide a richer rhythmic

foundation than the 2/4, 4/4 rhythms and have been developed to a high degree of complexity in

Flamenco. (The 2/4 rhythms are much easier, and therefore more accessible to the beginner.)

In traditional Flamenco, there are no palos in pure 6/8 with the arguable exception of

Sevillanas. (There is a great deal of Spanish theatrical, popular and folk music in pure 6/8,

however). The 6/8 measures always function as questions (except for Siguiriyas); however, 3/4

measures can function as questions or answers, depending on the musical context. These

measures (as compas cycles or parts of them) can be applied in sequence or in combination, and

previous remarks about harmony and density in “questions” and “answers” apply to rhythms in

this family as well.

Combinations of these measures are almost always in combinations of two, often making

a total of 12 counts for a complete compas cycle. For some palos, the two measure (12-count)

sequence is highly structured (e.g. Peteneras) , while for others it is highly arbitrary (e.g.,Bulerias). Odd multiples of measures can happen (primarily por Bulerias), especially when

“cooking” falsetas in a fiesta.

6/8, 3/4 Family Rasgueado Sequences

Alegrias, Soleares, Caracoles, Cantiñas, Peteneras, Guajiras, Sevillanas

In the following sections we will give basic forms of the various compas structures as generally

applied; their application to specific Flamenco palos (e.g., Solea, Buleria) will be presented in

the (guitar) section on Flamenco Forms.



3/4 Compas

The 3/4 compas cycle forms the basis of the resolution phrase for many of the flamenco

toques, as well as being used by itself when marking rhythm in Bulerias (where it can be applied

as both question and answer, depending on its harmony).

The first beat is counted as “12" or “1" depending on the context (review the Compas

Analysis), and the next most important beat is count “4" (or “10", if it is part a 3/4 12-countcycle). Chords can be held for the entire measure, change on count 4, or change on each beat

depending on the context. (Chords only change on count “2" in the chording compases for

Sevillanas and Fandangos de Huelva).

The following are some examples of rasgueado sequences in 3/4 6-count compas; thespecific rasgueados are optional. In particular, many of the sequences can also function as

resolution phrases.



6/8 Compas

The 6/8 Six-Count Compas is another compas cycle fundamentally important for

Flamenco. It functions as a “question” in Flamenco, since there are no traditional Flamenco

rhythms that resolve in 6/8 (with the arguable exception of Sevillanas). It is particularly

important in alternating 6/8, 3/4 cycles which forms the basis of many of the Flamenco palos.

However, it can repeat a number of times before closing with a 3/4 resolution phrase in Bulerias.

The following are several examples of 6/8 rasgueado sequences:



6/8,3/4 12 Count Compas

The 6/8, 3/4 12 Count compas cycle is one of the most important in Flamenco; it is the

basis of some of the most important Flamenco palos, including cantes and bailes por Bulerias,

Soleares, and the Alegrias family (as well as the Paseo Castellanos) of the two latter forms.

Peteneras and Guajiras are exclusively characterized by 6/8, 3/4 structures, as are Siguiryas and

Serranas (in a separate compas structure).

As mentioned above, the 6/8 compas functions as a Question, with various forms of 3/4

compas cycles serving as resolution phrases. Here are some typical 12 Count 6/8, 3/4 sequences

characteristic of Bulerias (variations can be applied to other palos as well):



12 Count 3/4 Cycle

The 12 Count 3/4 Cycle is an important sequence for accompanying taconeo and cante in

the Soleares and Alegrias families. Although written in 3/4 meter to account for changes in

harmony, the actual accentuation is on 3, 6, 8, and 10 (and sometimes 12) as in the 6/8, 3/4

compas structures.

Here’s an example of a chording compas and llamada that might be used with Soleares:



Alegrias

The following are typical sequences for the Alegrias family:



3/8 Chording Compas (Jaleo/Chufla)

The Jaleo (Chufla) compas is similar to the 3/4 Chording Compas phrasing is performed

at twice the tempo, which can then be described with a 3/8 time signature. It is sometimes used

(particularly in the major key) as a finale for Alegrias and Soleares.

The compas of Jaleo/Chufla is also used in the context of Bulerias; note particularly the

transition phrases between the 12 Count 6/8, 3/4 Bulerias cycle and Jaleo (necessary to keep thecounting consistent:



12 Count 3/8 Cycle

If the 3/4 Compas cycle is performed at twice the tempo, it becomes 3/8; compare the

sequence below with the equivalent version in 3/4. (For example, note that the rasgueados on the

anacrusic counts 1- 2 have half the density of those in the latter compas.) The sequence below is

characteristic of a fast basic compas por Allegreias:



6/8, 3/4 Flamenco Palos: Rhythm Structures

The 6/8, 3/4 Compas families can be characterized by their Rhythmic structures in a

general way; specific differences will be discussed in the section on Flamenco forms.



Alegrias (Cantiñas Family)

The popular chording compas for Alegrias used to be primarily in the key of A Major; but

recently the key of E Major has become quite popular. The generic name for this family of

compas forms (palos) is Cantiñas; the chord progressions can be transposed to other keys for the

other members of the family (Rosas (E), Caracoles (C), etc.)

Basic Chording Compas

The following compase sequences give a flavor of the basic chording compas for the

Alegrias (Cantinas) family of Flamenco palos..

The first compas is one that you might use as an introduction. The second is a

characteristic chording compas, and the third is a typical llamada. For slower tempos, you might

try doubling the rasgueados (e.g. 9aaAaa 10).

The accents are on counts 3, 6 8, 10, and 12;, this is actually a 6/4, 3/2 meter which is

polyrhythmic against the 3/4 chord phrasing; the rhythmic phrasing is then anacrusic to the

accented counts (the rasgueados function as “pickup” strokes which emphasize the counts,similar to redobles.

(Note: Modern Flamenco guitarists are experimenting with substituting alternative chords into

these progressions; for example, an F#m chord for B7 in E Major. Also listen for modulations to

the relative minor, even in the basic compas.



Paseo Castellano (Cante) chord accompaniment

The next diagram shows a typical sequence for accompanying the cante (or Paseo

Castellano) in A Major:

The other members of the Alegrias family have similar compas forms, but are

distinguished by their letras, and traditionally by the keys in which they are performed (although

the latter distinction is less important these days).

Caracoles, Cantinas ( C Major)

Rosas (E Major)

Romeras (E Minor)



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Baile por Alegrias

One example of the traditional form of the Alegrias dance has the following form:

Cante and Baile Entranada (Braceo (arms), Ti-ni-ti-tran, etc.....)

LlamadaPaseo

Desplante

Paseo Buildup (in dynamics, tempo)

Llamada

Silencio (sequence in Minor key)

Paseo Castellano (Buildup)

Llamada

Taconeo (footwork solo)

BuildupLlamada

Ida (old style)

Bulerias

Desplante

Bulerias

Desplante

.

Final Desplante

(see the section on Bulerias for a discussion of the Desplante)

The taconeo solo is often accompanied by falsetas, e.g.:



The Silencio

The Silencio is a passage in the relative minor which is used to briefly change the mood

of the dance to a bit more somber, for artistic contrast. In the example below, the first line (2 12-

count compases) is repeated (note the repeat signs).

The guitarist usually performs a falseta that follows this chord progression. The sequence

modulates to the major again for the Paseo Castellano and/or rapid (brief) taconeo section

following it, which builds up to the llamada just before the taconeo solo.



La Ida

La Ida is a rasgueado/dance sequence used in the old style of Alegrias to mark the

transition between the taconeo buildup and the Bulerias finale. The (F#7,Bm) and (G#7,C#m)

chords are performed at the 2nd and 4th positions, respectively. Carmen Amaya performs the Ida

in her film “Maria de la O”.

The example below shows the transitions from the llamada of the Alegrias to the first

compas of the Jaleo.



Bulerias

The Bulerias can be performed in all the keys available to the Flamenco Guitar. The most

important compas cycles (both of which can be used as “marking” compases between falsetas or

letras of the cante) are the 12-Count 6/8, 3/4 Cycle, the 6-Count cycles (6/8 and 3'4), and the

Jaleo/Chufla compas. The 6/8 6-Count compas cycle is always a “question” which must beresolved to an “answering” 3/4 resolution phrase. 3/4 measures can be either “questions” or

“answers” in a marking sequence, with the resolution expressed by a different rasgueado

sequence than the preceding questions. The combinations of “questions” and “answers” are most

often in multiples of two measures (e.g. an odd number of “questions” followed by a single

resolution measure), but this rule is subject to breakage, especially in the heat of battle

(performance) or the throes of falseta improvisation.

Both the 6/8 and 3/4 Six-Count cycles can be used in a “falseta” context, either

continuously (using chord progressions relative to the keys), or in “question-answer”, but always

ends in a resolution phrase on the tonic chord. The first section of the letra to the copla form of

the cante often uses a 12-Count cycle; the cambio chord progression is given in the diagram. TheJaleo, with transitions to and from is also given. The following examples will be expressed in

the key of A Phrygian Mode.

12 Count Chording Compas

The foundation of Bulerias compas is the 12 count compas cycle, which is expressed in

alternating measures of 6/8, and 3/4. Note that the music is anacrusic on count 3 (that is, counts

1 and 2 function as pickup notes which emphasize the third count. You can also use a rasgueado

on these counts (Rpty tm = Rumpity tum).

6 Count 3/4 Chording Compas

You can maintain compas by marking with 3/4 6-Count compas phrases. In this example any of

the measures can be repeated, and other chords can be substituted (e.g., and F or a Dm chord inthe first measure. The resolution phrase here is expressed with triplet rasgueados, but any

rasgueado can be substituted provided the compas is maintained.



Triplet Rasgueado Resolution Phrase

6 Count 6/8 Chording Compas

The 6 Count 6/8 compas cycle can also be used to mark compas, but it has to end

ultimately with a 3/4 resolution phrase. Even though the accentuation is on counts 12 and 3, the

6/8 cycles can be thought of as polyrhythmic, with and implied 3/4 beat on the even counts; the6/8 pulse being felt against them. Notice the phrasing in the third measure; if the beat is felt on

counts 12, 2, and 4 the phrasing is felt as “3 vs. 4"polyrhythm, an example of “hemiola”.

The 3/4 resolution phrase in this example can also be used as a marking compas in the

previous example.



The “Cambio”

There are several distinctions in the cante worth discussing; the first is a distinction in the

cante “por copla”, which has a fairly definite form, and “por cuple” which is cante set to Buleria

compas (i.e., 3/4 or 6/8) but can consist of all sorts of folk music, including “Cielito Lindo”, etc.

ported into Bulerias.

In the “copla” form of Bulerias (in an even more rigid form, called “cuadrado”, or

“squared off”, the form of the cante is a theme stated by the first letra, usually repeated (separated

by a compas), followed by a sequence of two 12 count compases that modulate to the related

major (F,C7 related to A Phrygian) in the first compas called the cambio (“change”).

An example of the copla form of the cante might be (e.g.):

1. 12 count compas letra “Ya mi me duele, me duele”

2. 12 count chording compas

3. 12 count compas letra “Ya mi me duele, me duele” (Repetition of 1)4. Cambio (12 count compas 1) “La boquita te decirte”

5. Cambio (12 count compas 2) “Ay, Gitana, si tu mi quiere”

An example of the chord sequence for the cambio might be:

Often a dance step called the “desplante” either accompanies or “answers” the cambio. A

slightly different version of desplante accompaniment is given below in the major key.



Jaleo/Chufla Compas

The Jaleo/Chufla compas is an old form of Bulerias that often serves as the finale to the

dance of Solea and Alegrias (“fin de fiesta”). The original form was developed as an ending to

the 12 Count 3/4 Solea compas, but speeded up to 3/8. The rhythmic difficulty comes when

integrating it with the other Compas forms of Bulerias. One solution is to use a 1/8 transition

measure before and a 2/8 transition measure after the 3/8 sequence when integrating it with the

conventional Bulerias Compas structure:

When used as a finale to Alegrias and Solea (baile), the Jaleo is usually performed in the

Major key.

Desplante Accompaniment

The desplante accompaniment in the finale to Alegrias or Solea has a slightly different

form than the cambio, particularly if there is no singer. Below is a possible version for Alegrias;

although the desplante often is used with the Jaleo/Chufla form of Bulerias, the transition

measures are given for reference.



Solea (Soleares)

The basic chording compas for Soleares (and Cana) has the form:

Copla Form of Solea

. The cante of the Soleares often has a copla form similar to that of the Bulerias, with a

modulation to the related major (G7,C) referred to as the cambio: The form of the copla are two

12 count phrases; the first phrase sets the theme (Letra A), and the second phrase responds to it

(Letra B - the cambio).

Sometimes Letras A and B are separated by one or more chording compases inperformance. If the tempo is slow, you can double the rasguados (4 16th’s instead of 2 eighths).



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Solea Dance Form

The Soleares dance has an informal structure; for example:

Temple (Singer warms up voice with repeated “Ay’s”; dancer marks time with braceo)

LlamadaSolea Copla

Llamada

(Possible repetitions of Solea Copla/llamada/Paseo combinations)

Llamada (Pose)

Taconeo (Footwork) solo, building up in speed and dynamics

Llamada

Bulerias

Desplante

Final Desplante

Basic Solea Falseta

The footwork solo is usually accompanied by falsetas (as por Alegrias); a very simple

example might be:



Caña

The Cana compas is identical to the Soleares, with minor variations in the

accompaniment of the letras. However, it is characterized by an ascending/descending section of

the cante called the “lamento”, with the singer interpreting the melody by vocalizing “Ay’s”;

below is a basic chord progression for accompanying the “lamento”:

(There is a traditional sequence of dance steps that roughly follow the same pattern as the

lamento.

The form for the lamento is not rigid in the number of compases for each “Ay”; measures

can be repeated in various combinations. November 11, 1997 In the example below, the melodic

figure for the resolution phrase of the Solea example can be applied to measures beginning on

counts 4 and 10 (except for the first 12 count compas). Note the modulation to the secondary

dominant chords in measures 6 and 10.



Guajiras, Peteneras

Although Guajiras and Peteneras have entirely different feelings and contexts, they are

grouped together here because traditionally they are both in consistent alternating measures of

6/8 and 3/4. The Guajiras (like the Columbianas) is an “ida y vuelta” cante; on that “went out”

and “came back” from and to Spain - in the case of Guajiras, the country was Cuba, and in thecase of Columbianas, of course, Columbia. Guajiras is usually performed in the key of A Major.

Peteneras is performed in the E Phrygian Mode (with sections in Am). The theme is of a

beutiful Jewish courtesan who broke many men’s hearts, and finally herself died a violent death.

Here is an example of a 6/8, 3/4 sequence used for Peteneras or Guajiras:



Fandangos de Huelva

The Chording Compas for Fandangos de Huelva can be performed as either straight 3/4,

or 6/8, 3/4 depending on how you think of the rasgueado; both forms have been included below

in the notation. The 3/4 chording compas form or the more modern 6/8, 3/4 form (which is like

the accompaniment to Paseo Castellano, can be used to accompany the copla, since many dancersuse 6/8, 3/4 pasos when dancing to coplas):



Falseta Compas for Fandangos (and Fandangos de Huelva)

Falsetas for Fandangos can use the phrasing of the traditional chording compas, but a

more common phrasing is a six count cycle counted from 4 (or 10 of the entry compas) to the

following 3 ( 4 5 12 1 2 3 ); the traditional compas ends on count 8 (omitting the rasgueo from

9aa 10) for the transition phrase (indicated as a 2/4 measure). Count 3 is often a bass note (openE or A in E Phrygian or A Phrygian, respectively).

The extra count is added (as a 1/4 measure) when exiting the falseta cycle. (This is similar

in concept to the transitions to Jaleo and back in the discussion of Bulerias compas).(Note: the

fact that the falseta tends to be accented on 12 and 3 implies a 6/8 meter; however, guitar falsetas

begin on 4 and end on 2, with the 3 added as a kind of "mark" in the falseta. It is one of those

polyrhythmic ambiguities characteristic of Flamenco.



Cantes (Toques) Intermedios

The Fandangos, Malagueñas, Tarantas and Granadinas area all toques (cantes) considered

as Intermediate (intermedios) in expression, as compared with the cantes grandes and cantes

chicos. The are related to the Fandangos because of their common chord progression used in

accompanying the letras of the cante. This chord progressions are similar to of the Fandangos deHuelva; that is a departure from the Phrygian mode to the related major. The differences between

the toques are the keys used for accompanying the cante

The traditional chord progressions are:

Fandangos (E Phrygian): G7->C->F->C->G7->C->(Am->G->F->E)

Malagueñas (E Phrygian): G7->C->F->C->G7->C->(Am->G->F->E)

Tarantas (F# Phrygian) A7->D->G->D->A7->D->(Bm->D->G->F#)

Granadinas (B Phrygian) D7->G->C->G->D7->G->(Em->D->C->B)

The general approach to accompanying the cante is to listen closely to the singer as his

melody follows these progressions during the course of his expression of the letra. When he

aims for the root of the next chord in the progression, sound the chord, using a combination of a

short melodic phrase and chord voicing. Between letras, falsetas and/or rasgueo is used to

inspire the singer for the next sequence.

Although there is no real compas, the phrasing of the falsetas and rasgueo inserted

between the letras of the cante are generally in 3/4 or 6/8, which is the reason these toques are

included here here. They are also performed as guitar solos, usually in the above keys.

The Rondeña of this family is a guitar solo created originally by Don Ramon Montoya, inthe C# Phrygian mode, with the 6th string (E) tuned down to D, and the 3 rd string (G) tuned down

to F#, allowing for ligado (hamemr on/orr) effects similar to those of Tarantas. Occasionally

falsetas will follow the above progression. It should be noted that there are also versions of

Rondeña in 2/4 compas (e.g., Sabicas, Paco de Lucia)



Sevillanas

The Sevillanas is a popular song and dance, but is considered to be borderline Flamenco.

It is a couples dance, and has a rigid structure, which makes it possible for everyone to perform,

which is why it has caught on in the nightclubs on the Costa del Sol.

Sevillanas Formal Structure

A “Sevillanas” letra consists of a single line that sets the them (called the “salida”), and

five lines of development, repeated three times for the complete letra, e.g. The dance begins with

a chording compas introduction, called the entrada, followed by the salida, a chording compas,

and the three verses, separated by chording compases.

Four complete “Sevillanas” comprise a “grupo” (group); at the completion of a group

couples are free to change partners, etc.

(Entrada)

“Lo tire al pozo, lo tire al pozo” (Salida)

(Chording Compas)

“Lo tire al pozo

el clave que mi diste

lo tire al pozo

que no quiero clavel

de ningun hermosa”

(Chording Compas)

“Anda que ere

Anda que ere

que ere las mas bonita

que ere las mas bonita

de las mujeres”

(Chording Compas)

“Ay que me pesa

ay que me pesa

si el tiempo que lo tuve

si el tiempo que lo tuve

si en la cabeza”



Sevillanas Chording Compas and Accompaniment

The form of the song and dance of Sevillanas has a 6-Count compas, predominantly in

6/8 meter, (the older form uses a 3/4 chord progression, with rasgueo on counts “3aa4") and

redobles emphasizing transitions between sections (as well as performed in a step characteristic

of the third Sevillanas). Modern Sevillanas emphasizes the 6/8 for more strongly, (often with an

electric bass).

Sevillanas is performed in all keys available to the flamenco guitar; the following

examples use a basic “Question-Answer” (Dominant 7th -Tonic,E7-Am) chord progression for

illustrative purposes. In the key of Am, the 6 Count chording compas is identical to the first 6

counts of the basic chording compas for Fandangos de Huelva.

An example of the basic 6 Count 3/4 chording compas is:

The basic 6 Count chording compas with 6/8 accentuation can also be written:

In the more modern form, the following rasgueo is sometimes used, occasionally

substituting the form above for the chording compases of the 4th and/or 5th lines and/or the

compases between the verses:



Entrada

The dance begins with an introduction by the guitar called the “entrada” which begins on

count 2, and continues for an arbitrary number of measures (usually 3), often with a redoble on

counts 3aa4 to signal the salida.

Salida

The Salida consists of a two measure expression of the theme of the letra or

accompanying falseta; its basic form is:

Letra

One line of the letra consise of 5 measures (chording compases). There are an infinite

variety of chord progressions/letras/melodies performed in Seviallanas; the following example is

a very basic form:

Finale

The final letra ends abruptly on count 3 of the final compas, here shown in 6/8 for

emphasis:



Sevillanas Falseta

Here is an example of a basic Sevillanas falseta. Note that the melody ends on count 2 of

the final measure, similar to Fandangos de Huelva falseta phrasing. The final measure, which

again is written in 6/8 to emphasize that phrasing. It should be noted that many Sevillanas

falsetas are anacrusic (use pickup notes); this example is not, since it has been chosen to illustrate

Sevillanas form.

Usually four different falsetas (or coplas) are performed for a complete group. (Of

course, the falseta below can be repeated four times if necessary.)



Verdiales (Fandangos de Malaga)

The Verdiales is related to the Fandangos de Huelva by the structure of its cante; the

modulation to the related major is similar, but the basic chording compas is a 6 count rasgueo

sequence, with two measures for each chord change. The dance is folkloric, with the dancers

wearing characteristic hats with trailing ribbons. Below is an example of a typical chord

progression for Verdiales; note the characteristic chromatic descending phrase in the next to the

last measure:

The cante is accompanied with a chord progression similar to that of Fandangos de

Huelva, with two measures for each chord, except for the final sequence.

G7->C

C->F

G7->C

C->G7

G7->C

C (one measure)-> F (two measures -> E (one measure)



SiguiriyasSerranas

The Siguiryas is traditionally accompanied in the A Phrygian Mode, and the Serranas in

the E Phrygian Mode.

The compas of Siguiriyas (and Serranas) is in alternating measures of 3/4 and 6/8, with

the compas cycle beginning on the 2nd beat of the 3/4 measure and ending on the 1 st beat of the

following 3/4 measure, with the resolution phrase from counts 3 thru 7 (in a resolving compas

cycle). Note the rasgueo emphasizing counts 3 and 6 in this example (the important counts in the

resolution phrase; counts 8, 10 and 12 can be emphasized in the same way.

Other chord progressions can be substituted; for example, (Dm,C) or (F,C) on counts

(8,10), and often the A chord is held throughout in a resolution compas cycle.

The Serrana cante has a characteristic ascending/descending vocal melody, similar in

nature to the “lamento” of the Caña.



Basic Siguiryas Falseta

Here is a basic Siguiriyas falseta you can use for accompanying the dance (as an alterntive

to the arpeggio,, you can strum a chord, or drag your forefinger up across the strings, or just

sound the open note on the first string as in the Solea and Alegrias falsetas. Note that the bass

notes suggest Dm->C->Bb->A on counts 8, 10, 12, and 3, respectively.



Barred Chords

One of the most powerful devices for creating other chords is through the use of the “bar”

(barre), using the left index finger across the fingerboard to stop multiple strings simultaneously

at a position. The six strings can be barred completely (full bar) or partially in the trebles or

basses (partial bar); you’ve already had an example of the latter in the example of the open

position A Major chord above.

If the phsyical form of a chord is preserved as the fret board is traversed from position toposition, the notes of the chord will change as well; new variations of chords with the same

character, but different roots are created.

The chords used as the bases for barred chords are those which can be made with three

fingers or less in the open position (since you use your index finger to bar), and are called

moveable chords (or chord forms). The set of moveable chords include the following; the

fingering changes to the open position chord are shown first. (Notes that are barred but not

sounded are indicated with parentheses).

The basic Major moveable chords are E, A, C, D, and G.

E Major (moveable chord)

Compare the sound of the G Major chord (barred E at the third position) with the G

Major chord in the open position; compare the sound of the A Major chord (barred E at the fifth

position) with the A Major chord in the open position.



A Major (Moveable Chord)

C Major (Moveable Chord)



D Major (Moveable Chord)

G Major (Moveable Chord)



Minor Moveable Chords

The Minor moveable chords ar eAm, Em an dDm:

A Minor (Moveable Chord)

E Minor (Moveable Chord)



D Minor (Moveable Chord)



Dominant 7th Moveable Chords

The moveable Dominant 7th chords are: E7, A7, D7, and G7.

E7 (Moveable Chord)

A7 (Moveable Chord)



D7 (Moveable Chord)

G7 (Moveable Chord)

(Suggestion: try a using a partial bar with the G7 chord)



Barred Chords in Progressions

The most important keys for chording compas for the traditional toques of Flamenco are

those in which the open position tonic chords are easily accessible; the keys of C, A, and E Major,

A and E Minor, and A and E Phrygian mode. Of secondary importance are D minor (F Major), B

Phrygian Mode for Granadinas (G Major), F# Phrygian Mode for Taranto/as (D Major, B Minor),

G# Phrygian Mode for Mineras, and C# Phrygian Mode for Rondeña.

Within these keys (and the other auxiliary keys), the most important chord progressions

are the fundamental “question-answer” sequences; for the Major and Minor keys, these are the

V7 -> I progressions, and for the Phrygian Mode these are the II -> I progressions, where I is the

tonic chord, and the other Roman numeral chords are calculated from their position relative to the

tonic of the scale.

One way of extending harmonic interest is through the use of barred chords, which were

discussed in the previous section; these are particularly important in falsetas, but are also often

used to add variation to chording compas. For example, the open position (relative to the capo) A

major chord barred at the third position becomes a C major chord. The A major chord barred at

the 7th position becomes an E major chord.

Phrygian Mode Alternative Progressions

The different forms of the same chords made in this way can be indicated through the use

of a superscript in the chord progression. Some alternatives for the Phrygian Mode

(iv -> III -> II -> I) in the open position are:



Major Key Alternative Progressions

Some alternatives for the Subdominant->Tonic->Dominant 7th->Tonic progression

( IV -> I -> V7 -> I ) for Major Chords are:

Minor Key Alternative Progressions

Some alternatives for the Subdominant->Tonic->Dominant 7th->Tonic progression

( IV -> I -> V7 -> I ) for Minor Chords are:

There are many other alternative chord progressions; check for relationships in other keys

as well.



Alternative Chords in Progressions

There are two important approaches to creating alternative chord sequences:

1. Chord sequences at a single positions. Note that the Phrygian Mode chord progression using

the chord forms for the key of A Phrygian, but performed at the 7th position are actually

progressions in the key of E Phrygian. Similarly, “A major” chord progressions performed at the

3rd position are actually in the key of C related to the open position.

2. Chord sequences down the neck (For example, the iv chord at the 5th position, the III chord

at the 3rd position, the II chord at the 1st position, and the I chord at the open position for the A

and E Phrygian modes, respectively . Note that if the A or E Phrygian sequences is begun two

frets higher, the chords will actually be in the B or F# Phrygian mode, respectively.

Many flamenco chord progressions as expressed on the guitar are combinations of these

approaches.

Phrygian Mode VI -> IV Chord Substitution

One important substution is that of the VI chord for the IV chord in the Andalusian

Cadence; for example, the progression VI->III->II->I (C->G->F->E). This can be thought of as a

partial sequence in the related major (C->G7->F->E), with the C->G7 as a “question” in the

related major resolved to the F->E “answer” in the Phrygian Mode.



Half Measures

In the diagram below notice that the 6/8 and 2/4,4/4 measures are divided in half in terms

of their chord progressions. These beats are reasonable places to change harmonies (in both chord

progressions and melody) within the measure, as well first beat of the measure; secondary

dominant chord sequences are often used in this context.

One particularly effective way of doing this is in the third measure of a 4 measure (12

count) sequence:

3/4 Chord Sequence

Finally, since the 3/4 measure is divided into 3 note groups, an effective technique is toprecede a resolution phrase with a 3/4 measure that changes harmony rapidly, e.g.:

All of these concepts are transposed to other keys and characters (major, minor).



Moveable Diminished 7th Chords

The diminished 7th chord is used as a substitute (or embellishment) for the dominant 7 th

chord in the Minor key and for the tonic of the Phrygian Mode. It is the same as a 7th(b9) chord

without the root: the V7(b9) in the case of the Minor key, and the I7(b9) in the case of the

Phrygian Mode.

The notes of the chord are equal intervals apart (minor 3rds), and are named from any of

the notes (since all the inversions are equivalent). For example, the G#dim7 chord includes the

notes (G#, B, D, F); compare this with the E7(b9) chord (E,G#,B,D,F). The G#dim7 then serves

as a substitute for the E7(b9) chord which is the V7(b9) chord in the key of A Minor and the

I7(b9) in the key of E Phrygian.

Note: it is also sometimes substituted for the V chord of the Major key, but in this case (A

Major), the F is an accidental to the key.

Since the notes repeat every 4 frets, the chords will repeat up the guitar neck. Thefollowing are moveable variations for the G#dim7 = Bdim7 = Ddim7 = Fdim7 chord. These are

substitutes for the E7, G7, Bb7 and D#7 chords (note their substitutes for as dominant 7ths in the

major and minor keys, and for the I chord in the Phrygian Mode.



Another commonly used variation is:

Note that the open E strings would serve as the roots of the corresponding I7b9 chord.

In the following variation, the open 2nd string (B) is a note of the chord as well:

Note there are three sets of diminished 7th chords, one position above, and two positions

above:

Set 1 Set 2 Set 3

G#dim7 Adim7 Bbdim7

Bdim7 Cdim7 C#dim7

Ddim7 D#dim7 Edim7

Fdim7 F#dim7 Gdim7

These serve as 7th or I7b9 (no root) for other keys as well. It should be emphasized thatthese chords function as dominant 7ths (with a missing root).



Scales and Modes

(Note: The Compas Analysis, Music Theory and Basic Flamenco Guitar are pre-requisites

for this section.)

Recall that the chromatic scale consists of the natural notes of the scale from A to G, withnotes in between labeled by sharps (#) if named by the note below, or flats (b) if named by the

note above. (Notes with the same pitch but different names are called enharmonic):

A A# B C C# D D# E F F# G G# A (Chromatic Scale)

Gb Db Eb Gb Ab (Enharmonic Notes)

Also recall that the determining factor for naming the note is the key (and scale) to which

it belongs; (i.e., its position in the Circle of Fifths). Also recall that the three scales used for

Flamenco are the Major scale, the Harmonic Minor scale, and the Phrygian mode.

The interval between each note of the chromatic scale is ½ step, and corresponds to a fret(position) distance on the physical guitar neck. The notes of the chromatic scale on the guitar

neck are (sharps or flats have been chosen to conform the most common use for Flamenco - the

keys of F Major to E Major and their relatives CW around the Circle of Fifths - Bb, F#, C#, G#,

D#):

Major Scale Patterns

The notes of each scale and key are defined by interval relations between the notes of the

scale. For example, the C Major scale is defined by the interval relation 1, 1, ½, 1, 1, 1, ½ ,

beginning on the note C of the Chromatic scale:

1 1 ½ 1 1 1 ½ (Note Intervals)

C D E F G A B C (C Major Scale)

C C# D D# E F F# G G# A A# B C (Chromatic Scale)

These notes form a pattern on the guitar neck, and these notes are those most likely to be

used for a melody or chord within that key. Notice that the notes of the chords (C, Dm, F, G,

Am) are all included in the pattern.

(Note: The other chords would be E and Bdim7, which include a G# as a substitute for G,

(changing Em to E) for use with the relative A Harmonic Minor and E Phrygian Mode).



C Major Scale Pattern

The pattern for the C Major scale (C, D, E, F, G, A, B, C) is the same as the natural scale

(no sharps of flats), and is given by the form below. The tonic note C of the scale is indicated by

circling the letter note, and filling in the circle of the patterns made by the notes on the guitar

neck:

At the open position, the C Major scale makes the pattern:

The A Major Scale Pattern (open position)

At the open position, the A Major scale (A, B, C#, D, E, F#, G#) makes the pattern:

Notice that the pattern (and the location of the tonics) of the A Major scale at the open

position and the pattern of the C Major scale at the third position are the same. That is, one

could “transpose” a melody or chord progression in A Major (at the open position) to C Major

simply by performing its pattern(s) at the third position.



The G Major Scale Pattern (open position)

At the open position, the G Major scale (G, A, B, C, D, E, F#) makes the pattern:

In this case, the pattern and location of the tonics of the G Major scale at the open

position and the pattern for the C Major scale at the fifth position are identical. Again, a melody

or chord progression in G Major at the open position can be transposed to C Major simply by

performing its pattern(s) at the fifth position.

There are five open position patterns for the Major scale, determined by the open 1st and6th strings in the pattern (thus making them available for the full bar). Those for the keys of C, A,

and G Major have just been discussed; the additional patterns those for E Major and D Major:

The E Major Scale Pattern (Open Position)

At the open position, the E Major scale (E, F#, G#, A, B, C#, D#) makes the pattern:

Here the pattern and locations of tonics of the E Major scale and the pattern for the C

Major scale at the eighth position are identical, and again, a melody or chord progression in E

Major at the open position can be transposed to C Major by performing it at the eighth position.



The D Major Scale (open position)

Finally, at the open position the D Major scale (D, E, F#, G, A, B, C#) makes the pattern:

Here the pattern and locations of tonics of the D Major scale and the pattern for the C

Major scale at the eighth position are identical, and again, a melody or chord progression in D

Major at the open position can be transposed to C Major by performing it at the tenth position.

The F Major Scale (open position)

The pattern for the F Major scale (F, G, A, Bb, C, D, D) is also important because of itsuse with the relative A Phrygian Mode (which will be introduced shortly). This patterns appears

at the seventh position for the key of C Major:

The patterns at other positions are used also, and several more will be covered

specifically with relation to the Phrygian Mode.



The Infinite Guitar Neck

To summarize, melodic and chordal ideas in the keys of A, G, F, and D Major can be

used for the key of C Major by simply performing them at the appropriate position on the guitar

neck.

The patterns for the key of C Major appear at the following positions.

Notice that the patterns repeat at the 12th position (the octave). The relation between scale

patterns holds for the other keys. For example, if you imagine the nut of the guitar (or the capo)

to be at the 3rd position, the patterns will be those for the key of A Major:

For example, the pattern for C Major now appears at the ninth position; a melody and/or

chord progression in C Major can be immediately transposed to A Major by playing it at the

ninth position.

This concept of transposition works for all keys (modes and scales), and is fundamental

for improvisation. The basic patterns appear in the same order on the guitar neck (chromatically,

from right to left on the guitar neck); by mentally shifting the starting position (or capo), the

patterns for the keys are arranged accordingly. The patterns repeat at the 12th position (the

octave) in all cases. It is left as an exercise for the reader to write out the full patterns for other

keys.



Phrygian Mode patterns

The most important patterns for Flamenco are those of the Phrygian mode. With the

exception of the accidental note related to the tonic (e.g., in the case of E Phrygian mode, G# as a

substitute for G in the context of the E tonic), the patterns are identical to those of the major

scale, with a shift of the tonic note.

A and E Phrygian mode patterns

The most important mode patterns for Flamenco are those for the keys of A and E

Phrygian, which are identical to those for F and C Major. The notes of these keys are

(A, Bb, C, D, E, F, G) and (E, F, G, A, B, C, D), respectively.

In the open positions these patterns are:

B and F# Phrygian mode patterns

The B and F# Phrygian Mode patterns (which are identical to those for G and D Major,

respectively) are also important; for the palos of Granadinas and Taranto/Tarantas respectively,

as well as for patterns for transposition from other keys. The notes for these modes are:

(B, C, D, E, F#, G, A) and (F#, G, A, B, C#, D, E), respectively.

G# Phrygian mode pattern

The pattern for the G# Phrygian mode is used for the palo of Mineras, as well as beinguseful as an auxilliary pattern for the A Phrygian mode. It is identical that for E Major; the notes

of its scale are (G#, A, B, C#, D#, E, F#):.



D and G Phrygian Mode patterns

The D Phrygian mode is sometimes used as a basis for Zambra (Danza Mora) with the

6th string detuned to D. This provides a strong bass for some of the techniques characteristic of

this palo, as well as an interesting series of chords derived from the open strings carried up the

neck at obvious positions. It is also partially barred at the second fret for use as an auxilliary

pattern for the E Phrygian Mode. The pattern is shown below with the 6 th string tuned to D. The

D Phrygian mode is relative to the key of Eb Major and G Minor; its notes are (D, Eb, F, G, A,

Bb, C).

The G Phrygian mode is sometimes the basis for versions of Zambra and Mineras; it is

also used as a partially barred pattern at the second fret for the A Phrygian mode. The G

Phrygian mode is relative to the key of Ab and C Minor; its notes are (G, Ab, Bb, C, D, Eb, F):

C# Phrygian Mode pattern

The C# Phrygian mode pattern is identical to that of A Major in the normal tuning for the

guitar, and as such is used as an auxiliary pattern for the E and A Phrygian modes. For example,

for the E Phrygian mode it appears at the third position.

However, the C# Phrygian mode also is used as the basis for the Rondeña, a guitar solo

created by Don Ramon Montoya. In this case, the 3rd and 6th strings are tuned to F# and D,

respectively with all the patterns on the guitar neck altered accordingly; both patterns are shown

below for the open position:

The C# Phrygian mode is relative to the keys of A Major and F# Minor; its notes are

(C#, D, E, F#, G#, A, B). Note that the moveable chord forms must be changed as well to

correspond to the new scale patterns due to the changed tuning for the Rondeña.



Phrygian Mode Pattern Relationships

The Phrygian Mode patterns are arranged from right to left chromatically, as with those

for the Major scales. For example, the E Phrygian mode patterns are arranged:

For the corresponding patterns for the A Phrygian mode, imagine the nut or the capo at

the 7th position of the E Phrygian mode. The patterns for the A Phrygian mode are :

The patterns for the other keys are arranged accordingly. As before, it is left as an

exercise for the reader to write out the patterns for other keys as required for the other palos.

Eventually these patterns and their relationships will become committed to memory.



Partial Patterns for the A and E Phrygian Modes

There are two partial patterns that are worth special attention.

For the A Phrygian Mode, this pattern is part of that for the G Phrygian Mode, made by

partially barring the 2nd, 3rd, and 4th strings at the second fret (with the pad of the index finger of

the left hand, bent at the joint), and fingering the other notes accordingly:

For the E Phrygian Mode, the pattern is part of the D Phrygian Mode, made by partially

barring the 3rd, 4th, and 5th strings at the second fret (i.e., one string lower in pitch), again with thepad of the index finger of the left hand, bent at the joint, and fingering the other notes

accordingly:



Harmonic Minor scale patterns

A (Harmonic) Minor scale pattern

The three most important Harmonic Minor scale patterns are those for A Minor, E Minor,

and D Minor, which are relative to the C Major (E Phrygian), G Major (B Phrygian), and F Major

(A Phrygian), respectively. The patterns differ from those of their relative keys due to the

accidental introduced in changing the chord built on the third of the scale from Minor to Majorso that it functions as the dominant for the key (hence the name “Harmonic” Minor as opposed to

“Natural” Minor. For example, in the case of A Minor, the change is from Em to E Major; note

that this chord is also the tonic of the relative Phrygian Mode; the note that is changed is the third

of the chord, from G to G#.

For example, in the E Phrygian Mode, the G# is played in the context of the tonic chord

(E) or Bdim7, which is a substitute for that chord. The G (natural) is played in the context of the

G and C chords. Am is particularly important because of the ease of making the chords

associated with the scale (Am, E7 and Dm).

The notes of the A Harmonic Minor scale are (A, B, C, D, E, F, G#); the pattern for thekey of A Harmonic Minor is given by:

A Harmonic Minor

Note that the keys of Bm and Gm can be used partially barred patterns; there are others,

of course (e.g. Cm).



Em (Harmonic) Minor scale pattern

For the E Harmonic Minor, the note D is changed to D# , Bm -> B(7), and the notes of

the scale are (E, F#, G, A, B, C, D#). As with Am, the Em scale is important because of the ease

of making the chords of the key (Em, B7, Am):

The scales and pattern for the Em scale are:

Dm (Harmonic Minor) scale pattern

The D Minor is formed from D Natural Minor (relative to A Phrygian Mode and F

Manor) by changing the C to C#; the notes for D Harmonic Minor are (D, E, F, G, A, Bb, C#).

The 6th string is usually tuned to D, since the open D string on the 4th string is too high to serve as

an effective tonic. D Minor in this form is sometimes used for Farruca:



“Secondary Dominant Scales”

Recall that the chords within a given key can be considered to be temporary tonics with

their own dominants. For example, in the chord sequence for the Andalusian Cadence in the key

of E Phrygian:

Am -> G -> F -> E (Andalusian Cadence)

(E7->Am)->(D7->G)->(C7->F)-> E (“Secondary Dominants”

Here, the “secondary dominant” chords are E7, D7 and C7. The progression A7->Dm is

also used in E Phrygian. The secondary dominant chords introduce accidentals into the key,

which imply a key change;

Secondary Chord Accidental Key Change

E7 (G->G#) (A Harmonic Minor)

D7 (F->F#) (G Major)

C7 (B->Bb) (F Major)

A7 (C->C#) (D Minor)

These scales are implemented practically by imagining the corresponding pattern at the

guitar position. For example, the Andalusian cadence in A Phrygian might be expressed as:

Dm ( = Am at 5th position) -> (C = A at 3rd position) -> (Bb = A at 1st position) -> A

The corresponding secondary dominant pattern would be:

(A7->Dm ) -> (G7->C) -> (F7->Bb) -> A ,

with the A7 = (the chord form) E7 at 5 th position, the G7 = E7 at the 3rd position, and the F7 = E7

at the 1st

position. These forms are essentially the A Major Dominant -> Tonic relationship at the5th, 3rd, and 1st positions, respectively, with a final resolution to A (Phrygian) at the open position.

This suggests that the corresponding Major scale patterns can be substituted for the

Phrygian Mode patterns at the corresponding positions. For example, it has already been

suggested that the Harmonic Minor pattern be used in the context of the resolution chord (A); in

the open position, this would be Dm (relative to A Phrygian). However, it can also be

implemented at the fifth position by performing in the A Harmonic Minor scale.

At the third position, the pattern for the actual key of A Phrygian mode corresponds to

the F# Phrygian Mode(D Major) performed at that position. However, the substitution of the

pattern for the A Major scale at the third position changes the actual scale to C Major, tocorrespond with the secondary dominant chord progression (G7 -> C). (Bb ->B accidental)

At the first position, the pattern for the actual key of A Phrygian mode corresponds to the

G# Phrygian Mode (E Major) at that position. The substitution of the pattern for the A Major

scale at the third position changes the actual scale to Bb Major, to correspond with the secondary

dominant cord progression (F7->Bb). (D->D# accidental)

The scale pattern then returns to A Phrygian Mode at the open position. Recall that the Bb

chord serves as the “dominant” to the tonic A chord, so that the F7 is the “dominant of the

dominant



The above example has used a consistent A Major pattern in traversing down the guitar

neck from the fifth position to the open position. However, the same chord/scale patterns can be

implemented at a given position; for example, playing the appropriate patterns while remaining

at the fifth position, or at the open position, by changing the progressions and introducing the

accidentals as appropriate.

The reader should experiment with the equivalent progressions in the E, B, F# Phrygian

Modes, keeping in mind that the progressions can also be used with the relative Majors andMinors of those keys.

This form of modulation is used extensively in Flamenco, both in chord progressions and

in melodies constructed from them.



General Chord Construction

Although chords can be constructed from the basic moveable chords, the notes of the

chords themselves can be thought of as scales in their own right, to investigate alternative

fingerings. The notes of a given chord can be written on the guitar neck in order to investigate

other possibilities. For example, consider the notes of the A Minor chord on the guitar neck:

For example, the following form for the Am chord is used in the first measure of

Tarrega’s Recuerdos de Alhambra ( a well known classical guitar composition):

This method is very effective in searching for alternatives for the more complex chords

used for Flamenco; for example, the I7(b9) chord used as a substitute for the Phrygian Mode

tonic or The V7(b9) in the case of the Dominant 7th for the Minor key (E7b9 in the case of E

Phrygian / A Minor).

Open String Chords

When constructing chords, always consider the open strings and their effects; here is a

variations of the E Major (Minor) Chord (with no 3rd) used for Solea (or Granadinas):

Here is a variation of the above chord (at the 2nd position) that can be used for Granadinas

and a similar approach for the F# chord at the 2 nd position for Taranto/Tarantas:



Falseta Techniques

Falsetas are melodic sequences made up of notes and chords, similar to jazz riffs. The

basic strategy for flamenco guitar performance is to establish the chording compas for

accompaniment and rhythm, and insert falsetas where appropriate. The major emphasis (in the

rhythmic palos) is in keeping compas, and the tapping of the foot is an aid to marking the beat.Flamencos can accept a missed note now and then, but never losing compas, since it is the

fundamental way the music is felt.

The development of the right hand is very important in Flamenco, since it is the right hand

that controls rhythm, tempo, and dynamics; and is much more difficult to develop than the left.

Traditionally, the Flamenco guitarist doesn’t perform (e.g.) a Solea “solo”, but rather

interprets the toque “por Solea”, which emphasizes the improvisational nature of Flamenco. All

Flamenco guitarists have a traditional library of guitar falsetas, but the experienced guitarist will

be able to insert them at will, according to the context of the performance. Eventually he will be

able to improvise on them; inserting different melodic or rhythmic fragments, musical ideas,resolution phrases, etc., all the while maintaining the all-important compas and phrasing.

Finally, there are exceptions that prove the rule. Diego del Gastor (and other Flamenco

greats) sometimes go out of compas for effect in a particular phrase, but still manage to preserve

the integrity of the palo. This requires a great deal of knowledge and experience within Flamenco

circles, however, and beginning guitarists should pay close attention to compas until it becomes

fundamental to their toque.

Scalar vs. Chording Techniques

Flamenco guitar falsetas can be roughly divided into two categories, reflecting the scalar

and harmonic nature of the guitar.

Scalar techniques consist of the performance of the notes of the scale in sequence (e.g.,

picado runs, ligados); these techniques take advantage of the scale patterns at relative positions on

the guitar neck. Right hand techniques such as thumb strokes and picado are used to voice the

individual notes.

Chording techniques expressed chords held with the left hand in progressions; rasgueado

(Flamenco strumming) is used to project rhythm, and individual chord note sequences are voiced

with techniques which include arpeggio, tremolo, various thumb/index finger techniques and many

others. Many falsetas include elements of both, but it is important to practice each separately to

focus on the physical requirements of each technique until it can be integrated smoothly into the

toque.



Free Stroke Rest Stroke

Free Strokes vs. Rest Strokes

There are two bsic ways of voicing notes with the thumb and/or fingers of the right hand;

the free stroke, in which the finger pulls away from the string after striking it, and the rest stroke,

(or “apoyando”) in which the thumb or finger comes to rest on the string below or above,

respectively.

For example, a thumb rest stroke on the 5th string would come to rest on the 4th string

after striking the note; a free stroke would strike the string and lift off in preparation for the next

stroke. A rest stroke of the middle or index finger on the 2nd string would come to rest on the 3rd

string, where a free stroke would pull away from the 2nd string after striking it.

The rest stroke is generally more powerful than the free stroke; the latter is used where a

lyrical quality is required, and in combination techniques such as arpeggio and tremelo.

Technique Development

Techniques vary in the difficulty and investment of time for their development; and the

relation of tempo to technique is a critical consideration in performance. Some techniques are

relatively easy to use, and can be immediately applied in the performance of falsetas; others take

many years to develop, and even then require constant practice to keep in shape. Technical

development depends a great deal on experience, ability, commitment, time resources, and

personal taste, and so can vary greatly with each guitarist.

A rough priority for flamenco techniques can be established by classifying them into easy

and difficult categories; the former can serve as a foundation for a basic toque, and an entree into

the art; the latter includes those techniques that take a long time and much effort to develop

properly.

Easy Techniques Difficult Techniques

Ligado Picado

Thumb Arpeggio (pami, etc.)

Thumb/Index (Arpeggios) Tremelo

Rasgueado



Phrasing and tempo are particularly important in the application of technique; it is difficult

to quantify priorities, since they depend so much on individual goals, but the first priority should

be to perform rasgueo chording compas, keeping aware of the tempos. Since chording compas as

expressed with rasgueo is fairly easy to perform (and fun!), it will become the rhythmic foundation

against which other techniques will be measured.

One reason the guitar is easy to play is that it lends itself to these chording techniques

quite effectively; one reason it is difficult to play is that advanced techniques require simultaneous

coordination of the fingers of both hands (e.g, single note runs using picado).

In classical guitar technique, the right hand thumb techniques operate on the bass strings

(the 4th, 5th, and 6th strings), and the index, middle, and ring fingers operate on the treble strings;

this rule is often broken in Flamenco. Flamenco guitarists use whatever “makes sense”; that is,

whatever technique gets the notes out in compas according to their “aire”. As suggested above, it

is often an engineering problem as much as an artistic one.

Left Hand Techniques

The left hand techniques can be divided into chording and melodic techniques; in chording

techniques the fingers of the left hand stop the strings to make the chord; for melodic techniques,

individual notes are voiced by using the scale patterns available to the guitar at the various

positions.

Ligado

Ligado is an important left hand technique that consists of “pulling off” or “hammering

on” notes:

“Hammering on” - Pressing a finger onto the next note in the pattern or scale after sounding the

string, either on an open string or a note held by another finger.

“Pulling off ” - Removing a finger to sound the next note in a pattern after having struck the

string; either to an open string or a note held by another finger.



Basic Ligado Falseta

The following is a basic ligado falseta por Soleares, using thumb (p) downstrokes in the

open position. Note that the harmony is essentially an E Major chord throughout (the tonic of the

E Phrygian mode. The accidental (#) note, together with the E Resolution phrase (counts 10 thru

12) gives a clue that the melody is in E Phrygian mode (rather than C Major or A Minor).



Here’s the same musical idea at a different pitch (position), with the same pattern. Note

the melodic repetition in both the falsetas, but that the second is more interesting because of the

pitch change:

Note the Bb in the last note group of measure 7 of the falseta, which suggests a secondary

dominant (C7->F) before resolving melodically to E.

Repetition is as an important concept as variety in melody. The musician has to establish

continuity in the minds of the audience just long enough so they assimilate it, but not so long as it

becomes boring. Preceding and following falsetas with rasgueo sequences, or falsetas using

different dynamic techniques are other ways of keeping the listener interested.



Parado

The parado (“stopped”) technique of the left hand is a rhythmic effect achieved by

damping all the guitar strings simultaneously with the little finger of the left hand, while holding

the rest of the chord with the other fingers (it is performed as part of the chording compas). It is

particularly effective in the rhythmic palos such as Bulerias:

The following chording compas sequence is a typical use of the parado technique por

Bulerias:

The first measure can be repeated several times (e.g., three) before resolving to the final

measure (which can also start in A on count 6, instead of changing on count 10 as in the

example.) Needless to say, other rasgueados can be performed for the resolution phrase as well

(e.g. triplet sixteenths - “sextuplets”).



Thumb Downstroke (Rest Stroke)

Thumb Techniques

Thumb techniques are the foundation of the flamenco guitar falseta, and are used for both

melodic (scalar) and chording compas sequences. The thumb has four fundamental actions:

Chording Techniques

1. Downward across the guitar strings (striking them almost simultaneously as a

rasgueado, or sounding each string individually like an arpeggio.

2. Upward with the back of the thumbnail across the guitar strings, sounding a rasgueado.

Melodic Techniques

1. Downward on an individual string, sounding the note.

2. Upward with the back of the thumbnail on an individual string, sounding the note.

The downstroke of the thumb is often used to accentuate a count of the compas in

contrast to the index finger strokes (which emphasize the treble strings); both up and down

strokes are used in combination rasgueados.



Basic Solea Falseta

Here is a basic Soleares Falseta, using simple thumb strokes in “Question-Answer”

phrasing. If played slowly it is relatively easy to play.



Soleares Falseta (Diego del Gastor)

Here are some variations on Diego del Gastor falsetas. Note the pattern carried up the

neck to the G chord in measure 6:

The following falseta is a variation of the above idea:



Thumb Upstroke (just prior to release)

Upstroke just after release

The Thumb Upstroke (Alza Pua)

The thumb upstroke is called alza pua (“upward thorn”) by Flamenco guitarists.

Both up and downstrokes are used for effect.



Bulerias Falseta (Sabicas)

The following is an example of a Bulerias falseta (Sabicas) using all of the techniques of

this section. Hold a Bb chord, and use the index and middle fingers of the left hand to make the

individual notes of the melody:

Alza Pua and Hemiola

The alza pua technique is also used in hemiola (3 vs.4) falsetas, particularly por Bulerias.

Here’s variation of several falsetas performed by Diego del Gastor and others in Moron de la

Frontera. Note that several sequences are used relative to the first count of the measure to expressthe hemiola; (up, down, note), (note, down, up) :



Thumb/Index Techniques

Technique combinations can often be used in different contexts. For example, the

resolution phrase for the Soleares falseta above can also be used in a Bulerias 6-count cycle:

Also note the hemiola thumb/ligado and thumb/index passages, and again, the effect of

repetition and variety. The hemiola (3 vs. 4) is felt against the implied 3/4 tempo against the 6/8

measures, which is strongly empphasized inthe resolution phrases.

^ ^ ^ ^C C C C

|[6/8] Pa ta ta Pa ta ta Pa ta ta Pa ta ta || 12 a 1 a 2 a 3 a 4 a 5 a |

|[3/4] F F F |

Note that the coordination between the 3/4 foot tapping and the 6/8 accentuation does not

repeat until the next measure, ensuring that the polyrhythm is felt through the entire phrase.

.



Bulerias Falseta (Juan Maya “Marote)

Here is a similar falseta from Juan Maya (“Marote”) simplified slightly:



Arpeggios

Arpeggios are consist of the individual notes of chords voiced over time, most often as a

note group. Often the thumb plays a note on a bass string (4th, 5th, or 6th string), followed by a

sequence of notes on the trebles (1st, 2nd, and 3rd strings) with the ring, index, and/or index finger.

The bass notes create a “melody” line, while the notes in the trebles act as “fillers”.

Technically, the term “arpeggio” refers to chords voiced by any technique; for example,

the falsetas above, and Solea resolution phrases are examples of arpeggios. Flamencos most oftenuse the term to distinguish thumb/finger techniques from the thumb/index techniques.

The fingers of the right hand are indicated by:

p = thumb (pulgar)i = index finger (indice)m = middle finger (medio)a = ring finger (annular)c = little finger (chico)

The index, middle, and ring fingers often voice the 3rd, 2nd, and 1st strings respectively, but

there are also many alternatives. (Note: the little finger is seldom used for any of the right hand

technique except rasgueado). Arpeggios are often classified as forward (p,i,m,a), back (p,a,m,i),

combination (p,i,m,a,m,i), or thumb/index (many variations). There are many different forms

of arpeggios. Among them are the following (an x means a rest, and R means rasgueado):

Doublets Triplets Quadruplets Quintuplets Sextuplets(tremelo)

(p, i) (p,i,i) (p,i,i,i) (p,i,i,p,i,i)(p,p,i) (p,a,m,i) (i,a,m,i,R) (p,x,i,a,m,i)(p,m,i) (p,i,m,a) (p,i,m,a,m,i)(p,a,i)

Note that the tempo will have to be slower for the more complex arpeggios (for consistent

counting in time) with respect to the resolution phrases.



Tremelo

The tremelo technique is a form of arpeggio in which all the treble notes are sounded on

the same string (often expressing its own melody), with the bass providing an accompaniment.

The Classical guitar form of tremelo (e.g., Tarrega: Recuerdos de Alhambra) uses the sequence

(p,a,m,i), while the Flamenco form of tremelo traditionally uses (p,i,a,m,i). “Octaves” is a form

of arpeggio in which the bass notes and trebles are an octave apart, as in measures 12, 13, and 14

of the Juan Maya Bulerias Falseta above.

(Tremelo) (p,m,i) (p,a,m,i) (p,i,a,m,i) (p,m,i,a,m,i)(p,a,i) (p,x,i,a,m,i)

Here’s an example of a traditional Soleares tremelo falseta:



Flamenco tremelos can be performed smoothly, which gives a flowing effect, or with a

brief pause between the thumb melody stroke and the first index stroke, (as if the note group were

a sextuplet with the second note a rest), which is more emotionally expressive.

Sometimes a reverse tremelo technique is used, where the treble strings are struck first,

followed by a thumb downstroke, (e.g., in the order (i,a,m,i,P), especially for effect in the

intermediate palos (e.g., Granadinas, Tarantas, Malagueñas)

(Rasgueado) (i,a,m,i,P) (x,i,a,m,i,P)

The following is a fragment of an introduction to Granadinas (B Phrygian Mode):

The sequence “ i a m i” acts as an introduction to the following chord, which is a kind of

“pickup” or “lead in” to the chord. Technically, this is called an “Anacrusis”. The series of

chords is performed “libre”, or freely with respect to compas; as such it functions as a textural

effect rather than as a melody.



Anacrusic Melodies and Feminine Endings

Anacrusis

Although harmonic changes usually occur at logical rhythmic time divisions (e.g., at the

beginning of measures, or note groups)m melodic phrases can overlap the beginning or end of a

measure. Melodic phrases that begin before a measure are called anacrusic; the notes preceding

the measure serve as an introduction to the beat, and are often called “pickup” or “lead-in” notes.

Tientos, Zapateado, and Tanguillo are examples of palos in which the rasgueado begins

before the measure, as “and-a-ONE and-a-TWO”, etc., with the “and-a” as the anacrusis

The following falseta is an example of an anacrusic melody por Bulerias (Sabicas, A

Minor), in which the melody is the one note that introduces the chord/rasgueo “answer” of the

phrase, preceded by a melodic introduction:

In measures 5 and 6, the note (1) “a” could also be considered anacrusic to count 2.



Feminine Ending

A similar situation occurs when the falseta extends past the end of the measure (i.e., past

the beginning of the “resolution” phrase. In this case, the melody is said to have a feminine

ending; the following falseta of Diego del Gastor is an anacrusic falseta with both anacruses and

feminine endings (F.E.) at resolution phrases (A Phrygian):



Fandangos de Huelva Falseta

Flamencos often express arpeggios using the thumb and index finger as a faster and more

powerful alternative to thumb / finger combinations . The following is a Fandangos de Huelva

falseta using a p, i, i technique in sextuplets. Also note the use of the index finger in measure 10

as a substitute for the thumb in the “alza pua” sequence. (E Phrygian)



Three Solea Falsetas

The following three falsetas are variations on the same theme; they serve as “filler” falsetas

between letras of the cante, or as accompaniment to Solea taconeo steps. It is especially

instructive to compare different kinds of arpeggios; for example, substitute (p,i,i,i) thumb/index

arpeggio, or (p,i,m,a,m,i) sextuplet arpeggio at a slow tempo (E Phrygian):



Picado

The picado Flamenco guitar technique refers to the voicing of individual notes (usually

scales) by striking them rapidly with alternating fingers. The traditional Flamenco picado is

performed apoyando (hammer strokes), using the alternating fingers of (m,i) or (a,i).

Picado is one of the most difficult of the Flamenco guitar techniques at the concert level,

since fast picado runs require simultaneous and instantaneous coordination between the fingers of

both hands. This requires focused development, concentrated practice, and daily mainenance for years; it is not a casual technique. That said:

The picado technique can be applied in several ways:

1. As a “burst” of notes, similar to a redoble, either on the same note, or as a short

pattern.

2. As a textural effect (e.g., long fast runs); these often are showcases for the technical

expertise of the guitarist.

3. As a melodic technique, where the technique is used to express a melody (or series of melodies) in musical phrases.

Traditional Picado

Picado is often inserted in short melodic phrases during accompaniment, with these

phrases transferable to other positions on the guitar. For example, here is a melodic figure in 3/4

time por Bulerias (A Phrygian):

Note the repetition of the melodic figure on different strings. The figure in the last

measure can also be performed against an A resolution phrase beginning on 6, rather than ending

on 10, as above.



Often melodic figures end (anacrusically) on the roots of chords in a progression:

Picado / Ligado

Picado can also be used with ligado. The following Bulerias (Jaleo) falseta of Diego del

Gastor’s (A Phrygian) illustrates the use of picado and ligado in countertime - the stroke is on the

counter time, pulling onto the note on the count:



Crossing Strings

Often the order of the fingers of the right hand is important in execution. When crossing

strings, it is more comfortable to play the “lower” string (e.g., 5th string) with the “i” finger, and

the “upper” string (e.g., 4th string) with “m” , since the index finger is often shorter than the

middle finger. In the previous and followijg falseta, try altering the finger order....

Bulerias Falseta (Diego del Gastor); E Phyrgian Mode



Note the use of repetition and contrast with respect to the melodic figures in this falseta,

as their phrasing.



12 - Note Runs

The 12 note run appears in many contexts in Flamenco, in all keys. There are two basic

patterns for this descending scale run, which ends on the “open” string (at a given position). The

resolution actually makes the 13th note in the run. This run can be thought of as either a 3/4 or

6/8 run, since evenness in voicing is the key criterion.

Both versions begin with two notes on the uppermost string (in pitch); and there is one

other string with two notes on it, with three on the others:

(E.g.) String I II# pitch (E.g. A,Am) (e.g., A,E Phrygian)

(1) highest 2 notes 2 notes(2) next 3 notes 2 notes(3) next 2 notes 3 notes(4) next 3 notes 3 notes(5) next 3 notes 3 notes (Resolution)

For example, compare the two patterns for A Minor and A Major, both of which conformto I:

Note that the notes on the strings, the ordering of the m,i fingers have the same form.

Contrast this with the patterns for A Phrygian Mode and E Phrygian Mode (which

conform to II):

Note that the r.h. finger ordering is the same, even though the runs begin on different

strings.



The run can be performed in sextuplets (relative to the beat) in 2/4:

Although the run uses exactly the same pattern, the feeling will be different because of the

different note groups relative to the compas.

By shifting the starting time (and coordination) relative to the beat, the 12-count run can

be used in 2/4 time; e.g. por Tangos:

Note that if your foot is tapping on the beat (counts 1 and 3) por Tangos, this is a very

fast run at 85 b.p.m; that is, the run is in octuplets relative to the beat.



Slipping Fingers in Runs

One approach (used by some guitarists) to improving recovery time in descending picado

runs is to “slip” the fingers as the string is crossed, playing two successive notes on different

strings with the same finger.

In the following examples, note that fingers are repeated whenever a string is crossed; the

idea being that the finger is already in position to strike the next note.

I don’t recommend this approach as a general technique, since it detracts from the even-

ness of the runs and is falseta specific, in the sense that the fingering for each run has to be

tailored to a specific case. And in any case, there are points in the runs at which the technique

cannot be used (e.g., where there are three notes on the string).

If (m,i) or (a,i) is used consistently, eventually the fingering of the runs become more

independent of the music, which is especially important for improvisation.

Nevertheless, there are specific cases (like the index finger arpeggio) where the slip finger

technique can be used effectively.



The Three Finger Picado

Although the traditional Flamenco picado technique in Flamenco uses alternating m,i or a,i

right hand fingering, and can be developed to lightning speed, there are several other techniques

that can be used for scale runs. One of these techniques is the three finger picado, in various

forms.

For the analysis, there are a number of important observations and factors worth

considering:

1. The scale patterns for each string at each position consist of three notes on each string,

except for one (either the 2nd or 3rd string, depending on whether the pattern is “like” A

Phrygian, or E Phrygian, respectively.

2.Recovery time for a double technique (such as traditional picado) is only one finger for

each stroke; for a three stroke technique each stroke has two strokes recovery time.

Absent other factors, the guitarist should be able to play twice as fast using a three stroke

technique than a two stroke technique. (Note: in my opinion recovery time is not as

important as the musical coordination aspects (the 3 note cordination on the guitar strings

to the 3-stroke technique.)

3. Much of Flamenco music is in combinations of three notes, reflecting both the physical

structure of the guitar as well as the 6/8 and 3/4 meter of the most important rhythms. In

addition, a three finger technique would be obviously useful in guitar phrases in triplets,

for any time signature.

4. Much of Flamenco depends on polyrhythm - particularly hemiola (3 vs. 4 quadruplet

patterns) for musical interest. The three stroke picado played polyrhythmically is a natural

candidate for these musical phrases.

5. Picado techniques using (m,i) and (a,i) are less difficult than those using (m,a), since

articulation is (much) more difficult to develop. This is because the (m, a) fingers are on

the same tendon. For three finger picado using (a,m,i) this means that the baseline speed

will be determined by (m,a), so that the maximum possible speed will be double the two-

stroke speed, absent all other factors.

6. The coordination and strength developed for the three-stroke techniques will also apply

to techniques such as rasgueo, arpeggio and tremelo, especially in the articulation of the

“m,a” fingers.

The main candidates for the three stroke scale techniques are:

a, m, i

p, m, i

p, a , i

It is also possible to consider using a four stroke technique for quadruplets in some

contexts. All of these techniques can be used alone, or in combination with other right hand

techniques (thumb/index, alzapua, etc.)



Physical Layout and Three Stroke Techniques

The traditional Flamenco guitar uses the Phrygian mode, the Major scale, and the

Harmonic Minor scale, together with their associated chords, with the guitar tuned to 4th’s (E, A,

D, G, B, E), the 3rd string being the one exception. The scales implemented on the strings, as

voiced at the fret positions on the guitar form patterns. These scale patterns consist of three notes

on each guitar string.

For a straight scale run, one of the notes is duplicated in pitch (e.g., B , E Phrygian), or

not included in the scale (B, A Phrygian); the scale on that string will only have two notes.

The a, m, i Picado technique

The pattern for a descending scale can be performed using the a, m, i sequence of r.h.

fingering, with the normal m,i at the point where the scale has only two notes on the string:

In this case, there are only two notes on the 3rd string. When crossing strings with only

two notes, the gain in recovery time is not as important as consistency of technique for speed (i.e.,

the finger order a, m, i on each string where triplets are concerned.

The finger order (a, m, i) is arguably the most natural, but the order (i, a, m) is also

useful, because that is the order of the traditional Flamenco tremolo. The order (m, i ,a) is more

difficult, since it involves crossing the strings using the (m,a) fingers.

As with all other 3-stroke techniques, the three finger picado can performed with melody

patterns on the guitar neck (Bulerias, A Phrygian):

Hint: practice sequences like this using (i,a,m) and (a,i,m) as well, in other scales and keys

at other positions, and on different strings. Try to end on the root of the target chord.



The basic 12-note run can be extended to longer runs (Soleares, E Phrygian):

Here’s the same run in Fandangos de Huelva (E Phrygian, Paco de Lucia):

Note that if you are tapping your foot on the beat (the even counts), the run is in

octuplets. (Tempo about 85 b.p.m.)

For ascending runs, the same considerations hold, e.g. (Alegrias, A Major, Sabicas):

You can also use your thumb in ascending runs effectively, as indicated - trading off in thedescending section. (Play in 3/8 for fast tempo.)



Here is a Taranto falseta (F# Phrygian Mode).

Measures 1 thru 4 establish the compas, with the actual falseta beginning anacrusically in

the 4th measure. Note the timing of the rasgueado in comparison with the slow 4/4 beat. In the

5th measure, m,i is used twice in the scale run, consistent with the idea that the finger ordering is

more important than recovery time. In measures 5 and 7, the runs begin at the barred 2nd position,

transferring to the open position on the 3rd (g) string (i.e., the “4 2 0" notes), also an aid to

preserving fingering order.

Here’s another Picado falseta por Bulerias (A Phrygian, Sabicas), fingered with a

combination of these right hand techniques:



There are many alternative ways to finger falsetas, and you should experiment to

determine what works for you. Keep in mind potential difficulties (e.g., crossing strings), and

work short runs into falsetas, building up to longer ones as your techniques get stronger and your

sense of compas becomes more sure. Be especially aware of how to enter and leave falsetas

within the compas (i.e., anacrusic entrances and feminine endings).

Taking Material off Records and Cd’s

Records, CD’s and Videos are a major source of study material, and the following are

some hints toward learning from these sources.

1. Once the toque has been identified, determine the key by listening carefully for the

tonics, usually at resolution phrases (if you can’t hear a resolution phrase, it is probably

“flamenco con-fusion”... Adjust the capo on the guitar accordingly.

2. A two speed cassette recorder, or even better, a compouter program such as CoolEdit

(IBM PC), that allows you to slow the the falseta down to half speed (the latter will do it

without changing pitch). Half speed in the former case will lower the pitch by an octave,

so you’ll still be in tune..

3. Listen carefully for the begining of the falseta relative to the compas, and note whether

it has an anacrusic beginning or feminine ending. Practice entering and leaving the falseta

from the compas correctly.

4. Usually it is fairly easy to determine the pitch of the notes. Complications mostly arise

in the cases of countertime and syncopation.

5. A metronome (or even better, a drum maching programmed for Flamenco compas) is

invaluable for setting the tempo and in the latter case, providing rhythmic phrasing to test

your compas. Better yet, of course, is experience accompanying a Flamenco dance classin your locality.

6. Keep an open mind about technique; flamencos are not restricted by “good” classical

techniques - whatever works is legal

Toque Flamenco

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